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L'installation vidéo d'Arnold Pasquier fait partie d'une série qui vise à reflèter les conditions d'une expérience sentimentale en lien avec un paysage et à inventer la forme spectaculaire d'un amour contemporain. Deux paysages creusent une absence et révélent la possibilité d'une rencontre. D'une part, une sculpture monumentale couvre les ruines du village de Gibellina en Sicile, détruit par un tremblement de terre; d'autre part, une autoroute coupe irrémédiablement en deux un quartier d'immigrants italiens de la ville de Sao Paulo au Brésil. Ce cercueil blanc, ce moulage en béton débordant, offre une nouvelle scène pour exprimer - jour et nuit - un amour qui est en lui-même l'invention d'une forme d'amour.

Arnold Pasquier est né en 1968 à Paris. Dès ses études d’arts plastiques et de cinéma à l’Université Paris 1 Panthéon-Sorbonne, il réalise des essais en super 8 et vidéo dans lesquels il développe un univers de journaux filmés et de fictions. À vingt ans, il se rapproche de la danse contemporaine et collabore avec des chorégraphes en tant que documentariste et danseur. Ces expériences inaugurent la réalisation d’une oeuvre où la danse tient une place importante. En 1997, il intègre le Fresnoy, Studio national des arts contemporains. Arnold Pasquier est l’auteur de nombreux films, vidéos, documentaires, fictions, mises en scène de spectacles et émissions radiophoniques : son travail se dèveloppe au croisement de ces différentes disciplines. Ses films ont été présentés et primés dans de nombreux festivals de cinéma en France et à l’étranger (Festival du film de Locarno, Festival Côté Court à Pantin, Vidéodanse, Biennale de Busan, FIDMarseille, Rencontres Internationales Paris Berlin Madrid). En 2005, il est lauré d’une bourse Villa Médicis Hors les Murs et il réalise le film Celui qui aime a raison au Brésil, sorti en salle en 2006. Son film Notre amour est présenté en sélection officielle au Festival du film de Locarno en 2009. En 2012, il présente un court métrage intitulé L’Italie et, lauréat d’une résidence de réalisation du Festival Côté Court de Pantin, il achéve la réalisation d’un long métrage de fiction expérimentale, Si c’est une île, c’est la Sicile.

“Still life” is an art-installation both physical - because it is composed of several AR sculptures made of ceramic, 3D printing, and other materials - and VR, because it is usable through oculus rift 3D viewer. “Still life” analyses the processes of nature by investigating the relation with it and what is represented in art nowadays as still life. The VR artwork puts in question what is really dead in nature and what is still alive in history of art, by speculating on landscapes, paintings and objects, and so creating through virtual reality an object-oriented space formed by a vibrant still-life environment designed all around the spectators. To design the vr artwork’s environment I used the techniques of photogrammetry and 3D scan objects, then I worked on manipulating the related maps/textures. The onlookers wearing the headset can touch the things ( i.e. food, flowers, fake dead animals, plants, rocks, shells, drinking glasses, books, vases, jewellery, coins, pipes, etc. ) in the still-life recreated by the real objects placed physically on situ. Audience can discover hidden senses by interacting with wired objects and new spaces of perception unfolding into diverse meanings. I make a sort of Duchampian détournement / decontextualization on the use of the vr medium itself, by designing immersive milieu in which, sometimes, the vr camera view angle is locked at 180°, 220°, or 310° instead of 360°. So, the onlooker is forced to peek/peep through the real space, into a reconstructed and resized immersive space sometimes semi-open or semi-closed, but made of wired geometric angles and futuristic views, playing with the concept of infinite including infinitely large, infinitely small, micro and macro dimensions, producing an unexpectable slide and shift of meaning. “Still life” is an experimental project, which challenges physical place to render it vibrant and participatory. It is through audience experience that “Still life” addresses us to the paradox of the modern space-time condition, even more diluted between physical and liquid space. “Still life” is part of a vr research project which I began in 2015 and which slots into my artistic journey since 1997, the fruit of a deep interest in space and how it is transformed and shaped “by” and “in” the language of informatics. In software and electronic devices, I find potential vehicles for the investigation and visualization of my research and theories. My “Still life” by investigating and analysing the ancient and fervid European Still Life art-practice, wants to keep alive its tradition across the magical ontology of the VR vision. In “Still life” I designed each piece to behave and move beyond its own functionality, according also to the Object Oriented Ontology philosophy.

Chiara Passa, visual artist (b. Rome 1973) working in media art since 1997. I graduated (M.F.A.) from the Fine Arts Academy of Rome, Master in audio-visual media at the Faculty of Modern Literature. After living in many different places I’m currently living and working around & in Rome. My artistic research analyses differences in virtual spaces through a variety of techniques technologies and devices - often using virtual reality and augmented reality technologies as an artistic medium to explore architecture as interface. I use VR and AR to comprise their intrinsic language and so on for shaking-up and challenging the static notion of architecture, by exploring the liminal duality between tangible and virtual place, achieving in art a strange oscillation between spaces. Yet, I work with animations, net-artworks, interactive and site-specific video-installations and AR / VR video-sculptures, sometimes made of Carrara marble, fresco technique, plexiglass, or 3D printing parts. Yet, I use VR medium in order to create site-specific video installations using a wide range of google cardboards. Typically, the 3D viewers are installed all over the real space, designing geometric shapes in liminal areas where onlookers can peek/peep thru 3D viewers over the wall, and so immerse themselves into a re-constructed/resized VR space made of wired geometric angles and futuristic views, sometimes semi-open or semi-closed at 180°, 220° or 360°, so highlighting the paradox of the modern space-time condition, which nowadays is even more diluted in between physical and liquid space. My work has been internationally exhibited from festivals, conferences, and institutions, including: 2019 «Object Oriented Space». Solo show at Museum MLAC Rome. «Virtual Natives – Sculpture», Roehrs & Boetsch gallery, Zurich (2019); «Oslo Night show», HEK Museum Basel (2018); «InSonic» immersive art show, ZKM | Center for Art and Media Museum, Karlsrhue (2017); «From live architecture: Dimensioning», solo show at Furtherfield gallery, London (2016); «Off Biennale Cairo» (2015-2016); «ISEA Disruption», Conference and exhibition at Vancouver Art Gallery. (2015); «Morphos», Vortex Dome - immersion media, Los Angeles (2014); Media Art Histories IV - RENEW conference, Riga. (2013). FILE | Electronic Language International Festival, São Paulo. (2011); Electrofringe - festival of new media art, Newcastle, Australia. (2008); BizArtCenter, Shangai (2005); MACRO – Museo di Arte Contemporanea, Roma (2004), 11° Biennale of young artists of Europe and the Mediterranean countries: «Cosmos - a sea of art», Athens. (2003); 48a Biennale di Venezia (with Oreste group), Venezia (1999) e Fondazione Bevilacqua La Masa, Venezia (1999).

Dans le cratère d'un volcan à Catamarca, Argentine, un feu d'artifice est allumé à l'aube, à 4000 mètres d'altitude.

Gregor Passens Né en 1974, vit et travaille à Munich et Buenos Aires, Argentine. Il a étudié à l'académie des arts de Munich, où il faisait partie du cours du professeur Nikolaus Gerhart; diplôme (2002). Bourses d'études (sélection): 2002 - 2003 bourse annuelle du DAAD, Buenos Aires, Argentine 2005 Maison internationale des artistes Villa Concordia, Bamberg 2006 Bourse américaine de Bavière Expositions (sélection): 2003 ?Verboden op het Werk te komen? W 139 à la Brakke Grond,Amsterdam; IIème Biennale de Tirana, Albanien; 2004 STUK, Louvain, Belgique; ?Xtreme Houses? Lothringer 13, Munich + Halle 14 fondation Federkiel, Leipzig;Muslim Mulliqi Prize? The Kosova Art Gallery, Pristina; 2005 ?A parasite showing? k-forum, Vienne,+ ARGE Galerie, Bozen;; Buenos días Santiago ? an exhibition as expedition, Museo de Arte Contemporaneo (curateur attitrudes), Santiago du Chili; 2006 VIDEOTHEKA, Kunsthalle de Vienne; ?Triumph?, El Basilisco, Buenos Aires; Open Space, Art Cologne, Cologne

Part 2 (2014) is a non-speech moving image work that puts into motion a succession of mostly nocturne images of an industrial landscape. Filmed in Jardim Canadá in the state of Minas Gerais (BRA), the project documents the material conditions on the ground of a once small rural town which has been radically industrialized in the last decade by the mining industry. The artist filmed several discarded objects and debris from several ad hoc landfills located in different sections of Jardim Canadá. Because of the region’s accelerated and under-planned transformation, it does not have a proper systemic waste management, and thus most of the trash and unwanted furniture of the inhabitants are thrown in vacant lots and at times set on fire. Part 2 follows the movement of a pack of street dogs at an eye level exploration of the landfills of Jardim Canadá.

Vijai Patchineelam (1983) was born in Brazil. He is a graduate from the School of Fine Arts at the Federal University of Rio de Janeiro, and a Master in Fine Arts at Konstfack University College of Stockholm, Sweden. Earlier this year he concluded a one-year research project at Jan van Eyck Academie in Maastricht, The Netherlands. Patchineelam mainly works with the mediums of video, photography and books. In 2013 he participated in the 18o Videobrasil Festival and opened two solo exhibitions in 2013. Recently the show Wild Attacks of Cynicism at Ignacio Liprandi Gallery in Buenos Aires, Argentina; and earlier that year the show Cut Corner at Seven Art Gallery in New Delhi, India.

The video Resist the past, ignore the future and the incapacity of containing the present (2015) begins with a reflection on the installation Equilibrium I, II, III (1977) by artist Carlos Zilio. In order to construct a sort of script in accordance with the variation of cuts present in the installation. Where wooden planks are placed horizontally along the floor and placed in equilibrium from cuts made by metal saws that remains inserted into the wood. The title Resist the past, ignore the future and the incapacity of containing the present is distributed throughout the video in three sequences. Each sequence searches in different subjects forms of political engagement outside or in parallel to the main activity and the tension that is generated regarding your area of action because of this engagement. This search does not result in a didactic video but through a conceptual approaches that seek to decentralize the subject / topic as a means of generating linguistic material around the moving image. The video begins showing the assembly of the work Equilibrium I, II, III at the Museum Rio de Janeiro. The second sequence puts the viewer in two different but related situations, the first in at the end of what appears to be a lecture where the speakers answer audience questions on engagement in a march or other forms of mass protest. Soon after the viewer is placed along side a protest march in which the viewer does not see the march itself but the change in the landscape. Ending with a interview where activist Mahmoud Keshavarz and Amin reflect on a advertisement campaign for an job vacancy at a immigration detention center in Sweden, and how this ad ironically uses mobility and cultural diversity as positive gains for the future employee. In collaboration with Marhmoud Keshavarz, Amin Parsa and Carlos Zilio.

Vijai Patchineelam, born in 1983 in the city of Niterói, Brazil. Holds a Master in Research in Arts and Design at Sint Lucas University College of Art and Design, Antwerp, Belgium; an MFA at Konstfack University College of Arts Crafts and Design, Stockholm, Sweden and a BA in Industrial Design at the Federal University of Rio de Janeiro, Brazil. Held a research position at the Jan van Eyck Academie, Maastricht, Netherlands.

This is the first in an ongoing series of explorations on the changing rhythms of urban life, especially in India. In the era of `development` and `progress`, where a predominant and aspirational middle class is shaping the face of India, this work explores the role of the burgeoning construction industry and westernized concepts of `ideal`, `weekend` homes propagated by it. It is shot at a model/sample row house at a popular hillside holiday destination near Mumbai. It mimics the luxurious fantasy furnished and perpetuated by advertising. However, sudden movements or breaks serve to disrupt and make one question this fantasy.

Chinmoyi Patel works primarily with new media and currently teaches part time at Department of Fine Arts, South Gujarat University, Surat, India. She graduated with an MFA from Goldsmiths, University of London in 2009. In 2013 she organised (with Emma Hunt) and participated in the Paradise Lodge International Artists Residency in Mumbai/Lonavala. She has been artist-in-residence at Ondarte, Mexico (2012); Changdong Art Studio, National Museum of Contemporary Art, Seoul (2011) and Green Papaya Art Projects, Manila, Philippines (2011). In 2011 she was a finalist for the Celeste Art Prize. She has participated in several screenings and exhibitions, including OMG! Elephant in the Room!, Galleria M, Calcutta (2014); The Moving Image Project, UK (2014); Continuum, Video Art Network, Lagos (2013)/Belgrade Art Fair, Serbia (2012); Paradise Lodge @ Studio X, Mumbai (2013); AR Festival, Paju, South Korea (2012); “Shall We?” (Solo Project), Green Papaya Art Projects, Manila (2011); Rencontres Internationales Paris/Berlin/Madrid 2010, Centre Pompidou, Paris; ”Home”, Air Space Gallery, Stoke-on-Trent, UK (2010); Bloomberg New Contemporaries, Rochelle School, London/Cornerhouse Gallery, Manchester (2009).

A man recounts a horrible event he has witnessed. Survivor. He is alone among the rubble. The memory of her torments him. That image carved in the mind. A nightmare. A dream.

Fabrizio Paterniti Martello (1988) is an Italian filmmaker. He has studied classics at university and has graduated in film editing at Centro Sperimentale di Cinematografia in Rome. His first film Ex Voto was awarded as Best Short Film at 34th Torino Film Festival. La Tigresse is his second film.

Holdind Clouds depicts a choreography on Huangshan the Yellow Mountain in China. The mount Huang is famous from the old chinese shan shui – mountain-water ink paintings. Still now the landscape gathers people to witness it. The view itself is often covered in clouds, only a peak of a mountain hovering in the sight. Still a thousand photos are taken there daily. People pose for photos infront of the landscape. The rythm of gestures done by the visitors, the reaching out, pointing, holding the air and touching the mountains formulates a choreography for the mountain. Chilean composer Fernando Munizag’s piece Mi última palabra china (My last Chinese word) binds the poses into a broken language, an attemp to get hold of tones and diftongs hidden in the grayscale of the moving clouds. The music is based on discoveries Munizaga made in the field of phonetic analysis of Mandarin language. There is a constant movement, with rather simple materials and gestures. All the harmony of the piece is based on strings’ natural harmonics.

Sara Pathirane’s work deals with the tradition of landscape painting and the problematics of taking a picture. As shooting locations for her videos she uses nature areas known from movies and paintings, shifting between the everyday and the fiction. She works with video, painting and live-installations. Pathirane lives and works in Helsinki. She has studied in the Finnish Academy of Fine Arts and Accademia Albertina in Torino. Her works have been shown for example at Taiga-Space, Saint-Petersburg (2016), Colombo Art Biennale (2016) and Kiasma (2010, 2013).

A poetic view into the relationship of immensity, between man and landscape. We contemplate, from the distance, the activity of the skiers on the snowy mountain. The pictorial image and the dark and dreamlike atmosphere transforms the space into something unreal, imprecise, converting it also in a tactile experience.

Lois Patiño was born in Vigo (Spain) in 1983. He combined his Psychology studies in the Complutense University of Madrid with cinema studies at TAI School. He followed his cinema education at NYFA, in New York and with the Master in Cinema Documentary at Pompeu Fabra University in Barcelona. He has developed courses of videocreation in the UdK of Berlin, and in different ateliers with artist and filmmakers such as Joan Jonas, Donald Kuspit, Pedro Costa, Víctor Erice, José Luis Guerín or Daniel Canogar. He has worked in collaboration with the director Mercedes Álvarez in her second feature film ?Futures Market?. His works have been shown in art centres screens such as Centro Cultura San Martín (Buenos Aires), Casa Encendida (Madrid), MARCO (Vigo), Luis Seoane Foundation(A Coruña)... and in international festivals as Locarno, Rotterdam, New York Film Festival, BAFICI, Oberhausen, Rome, Vila do Conde, Media City, Viennale, Clermont-Ferrand, Punto de Vista... With his work "Mountain in Shadow" won a Prize at the Oberhausen IFF, and at the Locarno IFF he recieved the prize for the best emerging director with his work "Costa da Morte", among others.

A poetic journey through a primitive landscape, where the processes of formation of the Earth are present. The earth beats and vibrates. The human being, insignificant, is overwhelmed and reduced to a spectator of this natural force.

Lois Patiño was born in Vigo (Spain) in 1983. He combined his Psychology studies in the Complutense University of Madrid with cinema studies at TAI School. He followed his cinema education at NYFA, in New York and with the Master in Cinema Documentary at Pompeu Fabra University in Barcelona. He has developed courses of videocreation under the guidance of Katherin Sieverding and different ateliers with artist and filmmakers such as Joan Jonas, Donald Kuspit, Pedro Costa, Víctor Erice, José Luis Guerín and Daniel Canogar.

From a conception of the forest as a mythical space we observe this landscape being transformed by the woodcutters. The fog´s atmosphere emphasize the idea of the spiritual linked to the Nature. The tree as a sacred symbol. The man is here observed from the distance, we keep the point of view of the forest being cut down. This suggest a reflection about the relationship between man and landscape. From a poetic look we try to find the revelation in the landscape, a perceptive look to the process of changing in the landscape. The woodcutters cut down one by one the tall trees as a mechanical action. Again the contrast of the mythical thought inspired by the Nature and the idea of the scientist progress by the machines.

LOIS PATIÑO (b. Spain, 1983) Lois Patiño studied Psychology at the Universidad Complutense of Madrid, and cinema at the NYFA of New York and the UdK of Berlin. He studied documentary cinema in Barcelona at the UPF. He has done workshops with directors and artists such as Pedro Costa, Joan Jonas, José Luis Guerín or Víctor Erice. He has worked with the filmmaker Mercedes Álvarez in her second film Future´s´Market. His works around identity and landcape have been exhibited in places such as Reina Sofía, Centre Georges Pompidou, CGAC, Casa Encendida, CGAI... and in festivals (Documenta Madrid, Festival de Las Palmas, Jihlava festival, VideoFormes, Big Screen Project New York...)

Distance-Landscape. The connection between observer and landscape at the contemplative experience. From the crossing of the proximity and the remoteness appears the notion of aura, following Walter Benjamin´s theories. The gaze is here building the landscape from the necessary distance. Defining it´s limits withLois Patiño Filmmaker and videoartist born in Vigo (España) in 1983. Currently he lives and works at Madrid. During his university years he combine psicolgy and cinema studies at Madrid. Subsequently he move to NY and Berlin to complety his training on cinema direction and videoart at the NYFA and the UdK respectively. In Barcelona he made a master´s degree in documentary films at the UpF. He have done workshops with filmmakers as Víctor Erice, Jose Luis Guerín, Isaki Lacuesta... and artists as Joan jonas, Bill Viola or Donald Kuspit. He collaborate with the cinema director Mercedes Álvarez in her second film. the total continuity of the Nature. An observer submerged in the trip of the look around the landscape. Resting the gaze on the details that makes up it´s totally. Focusing, approaching the look to the center of the image and coming back again with distance. In this doble way we aproach to the notion of aura.

Lois Patiño Filmmaker and videoartist born in Vigo (España) in 1983. Currently he lives and works at Madrid. During his university years he combine psicolgy and cinema studies at Madrid. Subsequently he move to NY and Berlin to complety his training on cinema direction and videoart at the NYFA and the UdK respectively. In Barcelona he made a master´s degree in documentary films at the UpF. He have done workshops with filmmakers as Víctor Erice, Jose Luis Guerín, Isaki Lacuesta... and artists as Joan jonas, Bill Viola or Donald Kuspit. He collaborate with the cinema director Mercedes Álvarez in her second film.

Maria Patsyuk Russia stop fucking war, July 2022 Following Audrey Lorde's idea that the master's tools will never dismantle the master's house, in my work I question the efficacy of calls for violence and rape when addressing enemies and aggressors in any anti-war rhetoric as it's a case of unconscious use of patriarchal culture's tools in an attempt to confront it. I observe how the body responds to the ambivalence of sexual vocabulary embedded in everyday discourse, and study their mutual impact. ??? ????? (fuck war) is a well-known slogan in the Russian-speaking circles. It is considered to be pacifist, but operates as a legitimization of military violence, in which the dominant sexual role is to humiliate and appropriate the bodies of others. The more intense the usage of the sexual language in the context of violence is - in the news, in slogans and in everyday speech - the more I feel that sex as a bodily and communicative practice, as an extension of desire and a path to pleasure, is escaping me and becoming a weapon of war that cripples living bodies.

Maria Patsyuk, multidisciplinary anti-war artist, 34 y.o, from Moscow, Russia. Due to political reasons provisionally based in Europe since 2022. Masters Student at Art Live Forms in Academy of Fine Arts Nuremberg 2023-2025, DAAD scholarship holder. Keywords for her artistic practice: holding complex interrelations, breaking away from ideologies and manifests, sprouting through in-betweens, fluid contract, distance and boundaries. Critically reflects on the interrelation of people, institutions, and non-humans both in physical and digital spaces. Winner of DAAD Scholarship for postgraduate studies, Germany, In Solidarity Scholarship, International Summer Academy of Fine Arts, Salzburg, Austria and GES-2 x CHANEL Culture Fund Scholarship, Moscow, Russia. Shortlisted in VII Moscow International Biennale for Young Art x Gucci Contest in 2020. Participant of the LoosenArt exhibition, Rome, Italy; Noname Festival, Moscow; NO RETURN festival, Nevers, France; International festival of arts The Access Point, Saint-Petersburg, Russia and ON THE EDGE festival, Narva, Estonia with projects, connecting physical and digital experiences. Participant of BUDA art residency in Kortrijk, Belgium; Glocal Class Tender Absence, digital residency by Peira, Germany; Untitled Gallery residency in Tbilisi, Georgia; In Their Own Words residency for women artists at the GES–2 House of Culture in Moscow, Russia, Blackbox at Meyerhold Theatre Centre, Moscow, Russia.

How do you shoot a documentary when you know that filming is not allowed? In 90 Seconds in North Korea, Ranko Paukovic filmed in slow motion, shooting secretly in 2-second intervals on a hi-speed camera that everyone else around him believed was an ordinary tourist stills camera. Each 2-second fragment created 20 seconds of slow motion footage. The result is a dreamlike yet breathtakingly normal montage of everyday street, road and beach life in a state that strictly controls what outsiders are allowed to see. A child plays with a toy car in the park, adults enjoy a game of cards in the park's picnic area; trucks drive along an empty road, the rays of the setting sun lend warmth to lush countryside, and a shower of rain falls on the streets of Pyongyang… As it was impossible to record any interviews or ambient sound, the soundtrack features a haunting and evocative sound design composed by the director, an accomplished sound editor. The pragmatic, necessary decision to shoot in slow motion lends the film a poetic quality: in Ranko's own words, "the form is born out of need".

Ranko Paukovic studied film at the Academy of Dramatic Art in his hometown of Zagreb, Croatia. After graduating, he worked as an assistant editor on large international co-productions. He moved to The Netherlands in 1991 and worked as a sound editor with prominent Dutch directors. In 1993 he set up his own sound studio, Editson, specialising in sound design, sound editing and film mixing for artistically ambitious projects. Still based in Amsterdam, Ranko is now in demand internationally. He has built up an impressive back catalogue of work including feature films, high-end television drama and documentaries. A few years ago, he made his debut as a director with the feature-length documentary Bijela Kuca (White House), about the unique white stone found on the island of Brac, Croatia and the people who earn a living from quarrying it. White House was shown at several international film festivals and broadcast by Croatian national television (HRT) and Al-Jazeera Balkans. His last documentary "The End of Darkness" about the last European female mine workers just premiered at Al-Jazeera Balkans Docs in Sarajevo. The film was supported by the Croatian Film Fund (HAVC). Ranko is also a visiting professor for the University of Zagreb, where he teaches sound design.

Six Artists respond to the work of Joanna Margaret Paul is a programme of short moving image works by Nova Paul, Rachel Shearer, Sonya Lacey, Miranda Parkes, Shannon Te Ao and the collective Popular Productions. A prolific film-maker, poet, photographer and painter, the work of Joanna Paul (1955-2003) quietly observed the intimate poetics of the domestic and the modest grace of her bucolic surroundings. This programme presents an ambitious range of new moving image commissions shot at home, in industrial space, nature and using a microscope within salt letter form – each film celebrating the resonance of Paul’s work and offering the catalyst for a collection of new work by a range of contemporary New Zealand artists.

Nova Paul teaches studio moving image and art theory in the Visual Arts Department. Her film-making practice draws from early cinema, experimental film histories and fourth wave film discourse to consider the poetics and politics of place, self-determinacy and the image and the role of story telling in talking back to neo-liberal hegemonies. Her writing practice has focused on lens-based media and its relationship to whenua (land). In 2008 she co-edited PLACE: Local Knowledge and New Media Practice (Cambridge Scholars Publishing), a book that examines how on how long-held attachments to place are transforming in the new media context. In 2012 she published Form Next to Form Next to Form (Dent De Leone, UK and Clouds, NZ) this artist book won the 2013 Most Beautiful Book in Australisia (Monash University, Australia) Nova Paul`s 16mm films have screened nationally and internationally in film festivals and gallery programmes. This is not Dying (2010) has screened at Recontres Internationale, George Pompidou Centre, France, (2011), Rotterdam International Film Festival, (2011), New Zealand International Film Festival, (2010) City Gallery Wellington, (2010). Pink and White Terraces has screened at Whitechapel Gallery (UK) and was selected by Whitechapel Gallery for Artists` Films International at the Venice Biennale in 2013. The film has toured to Ballroom Marfa (USA), Fundacion Proa (Argentina), GAMeC - Galleria d`Arte Moderna e Contemporanea (Italy), Henie Onstad Kunstsenter (Norway), The Institute for the Readjustment of Clocks at the Koç Foundation (Turkey) from 2009-2010. Pink and White Terraces premiered at the Telecom International Film Festival, (2006) and was Telecom Prospect New Art, City Gallery, Wellington, New Zealand, 2007. Other film commissions include Our Future is in the Air (2007) for Martini Shot; New Artists Show, Artspace, Auckland and the World of Interiors (2008) for New Zealand Film Archive, Wellington. Nova Paul is of Te Uri Ro Roi and Te Parawhau /Ngā Puhi descent.

Le chasseur ardennais part à la recherche d’images nocturnes grâce à ses pièges photographiques. L’astrophysicien au milieu du désert, utilise ses télescopes géants pour sonder les fins fonds du cosmos. Tous deux, à travers leurs territoires et leurs images partent à la quête de nouveaux mythes.

Thomas Paulot est né à Paris en 1991. Il obtient un Bachelor en fine art à Central Saint Martins de Londres lors duquel il développe une pratique interdisciplinaire principalement autour d’installations, de vidéos et de constructions scénographiques. Il dirige en 2016 un atelier avec des mineurs pluri-exclus à Paris durant lequel il réalise un film Au début du chemin de notre vie. Il coréalise le film Stardom lors de l’atelier Grand voyage à Bombay en Octobre 2016. il coréalise en 2017, Anarchie à Buchillon dans le cadre d’un atelier avec la Manufacture de Lausanne. Il sera diplômé du Master cinéma ECAL/HEAD en 2018 avec son film, Le ciel des bêtes.

A reconstructed assemblage of the opening title sequence from the feature film The Shining (1980) by Stanley Kubrick, “A View of Above” was shot in reverse perspective at the actual locations used in the feature film. The original viewpoint is now inverted, looking up, and back at the ominous "eye in the sky" which shadows the yellow Volkswagen as it winds its way up the American Rockies to the Overlook Hotel. The framing, movement, and pacing of the original, feature film sequence is replicated shot by shot in duration and in relationship to the sun and weather. The intent is to recreate the original, but from an altogether different perspective: the gaze defiantly flipped, the viewer is no longer a complicit voyeur of the hapless victim.

Michael Paulus is an interdisciplinary artist living in Portland, Oregon. USA Exploring potential connections between often disparate relationships, his video work often attempts to reveal the hidden, censored, or unassumed in culture, cartography, mechanisms and commonplace conventions. Films and videos have screened at the NW film festival, PDX film festival, various domestic and international film festival as well as the Taipai Biennial, Scope Basel, various gallery installations and recently as part of CORE, -the Nagasaki-Hanford project as part of an installation at Whitman College in Walla Walla, WA in 2018

SWIMMERS is a sketch of an attempt to maintain collective belief on the border of cosmology and psychedelic trance theater. Run-down houses in an abandoned settlement in the southern corner of Russia. A controversial physicist, Boris Zolotov lives here. In the mid-1980s, Zolotov decided to leave the walls of the Soviet research institutions to follow his own beliefs. Today these take the form of hour-long swimming rituals and night-time theater performances. A group of people have collected around him, who choose to share his journey Like many in the group, the young Ekaterina was led here by the many questions which remained unanswered elsewhere. Together with Boris Zolotov, she discusses the concept of happiness in contemporary Russia.

Kristina Paustian, born 1985 in Omsk, Russia. 2003 she moved to Germany to study at the University of the Arts in Berlin. She worked as a director of photography and editor for other artists before starting out as a video artist herself. Today Paustian`s artistic practice covers video art, film and installations. In her art she always tries to find and preserve a particular human constant into cinematographic forms. This constant (if there is any) goes far beyond language barriers, geographical borders, collective and social concepts or political structures. SWIMMERS is her first feature film.

The story of a man who came to Germany 17 years ago. It’s the 31.12.2017, a day in the life of Niaz Ahmadzai from Afghanistan. A never ending story of work, existence, love, familiy and an unfulfilled personality. The perfect integration of a fully functioning machine.

Denis Pavlovic, born in 1987 in Stuttgart, presented his first film "Smoother in 350ml" at the No Budget Festival in Tubingen in 2008. Thereupon he studied 3 years Film & Video at the Merz Akademie in Stuttgart. After his graduation he worked as an interne at the Documentary Production Company "Kloos und Co. Medien" in Berlin. In 2011 Denis accomplished his first long movie called "Paranoid Places" and in 2013 his second full-length documentary „Wo tanzen wir morgen" which celebrated its Premiere at the 19th Filmschau Baden-Wurttember Festival. In order to its success it was distributed via Teamwerk Stuttgart. Today Denis is studying documentary direction at the Filmakademie Baden- Wurttemberg and works as a freelancer filmmaker and artist. The main themes his films are about modern society in the midst of globalism and industrialism.

Resting in the grass waiting for the rest, eating candy in the back of the truck. Driving on the bumpy road to where Paco arrives with his bebé on the Dinamo. Eating sugar cane.

Temra Pavlovic is an artist based in Amsterdam. She makes momental videos, sculptures and installations, and is a member of poetry group Oa4s (On all fours). Her work has been exhibited at e.g. Lodos gallery in Mexico City, Human Resources in Los Angeles, Les Rencontres Internationales in Paris, Interstate Projects in Brooklyn and Seventeen gallery in London.

There is a German Shepherd in Tepoztlan who guards a brick villa where the walls are painted white and the furniture is modern. In the kitchen there are people chatting, the TV is on and the German Shepherd is waiting by the door. The villa is enclosed by a wall and you can hear church singing from the mountains, especially in the garden, where there is a sprinkler, purple flowers on the lawn and a woman dressed in Baby Blue.

Temra Pavlovic was born in the Netherlands and received her BFA in Film/Video from California Institute of the Arts (CalArts). She combines documentary and fiction, and uses materials from her direct surroundings. Her work has shown in different contexts, i.e. at Otras Obras in Tijuana, the RedCat theater and Human Resources in Los Angeles and the Sensory Ethnography Lab at Harvard University. She is currently living in Mexico City, working on a series of narrative documentary scenes under the umbrella title `Soluciones,` and she is a member of the three-headed collective Oa4s.

Set Theory I–IV explores every corner of flat screen space and corresponding illusions of depth. Part I (2mins) involves dissolving surfaces. Part II (2mins) adds alternating planes and the numbers 0 and 1, as graphic components. Part III (12mins) slowly takes the screen into depth, evoking architectonic principles of the video frame. Adding another dimension, Part IV (2mins) introduces pure, constantly changing colour fields. In the first instance, Set Theory involved producing and collating different sets of vertical, horizontal, diagonal and curved graphic transitions. These were subsequently combined or sequenced by way of different rules that keep the conflict of planes, forms, tonal values and colour foremost.

Simon Payne studied at the Kent Institute of Art and Design, Maidstone; Duncan of Jordanstone College of Art and Design, Dundee; and the Royal College of Art, London. His work has shown in numerous festivals and venues including. He has also written widely on experimental film and video. He co-edited the book Kurt Kren: Structural Films (2016) with Nicky Hamlyn and A.L. Rees and is currently editing a posthumous book by A.L. Rees, entitled Fields of View: Film, Art and Spectatorship. Simon Payne is Reader in Film and Media at Anglia Ruskin University, Cambridge and lives and works in London.

Présentation du travail La vidéo «Décor vidé», montre la transition d?un décor avec un scénario et des personnages à un décor vidé et sans vie. Le texte ci-joint, nous parle du scénario et des personnages impliqués, l?un desquels es mon épouse et la personne qui a écrit ce texte. Le soir de Noël de l?an 2006, au premier étage de cet immeuble de la rue Pau Claris de Barcelona, est décédé ma mère, Emilia Foix. Elle avait quatre-vingt-dix ans. Quand elle s?y est installée, à la fin du mois de janvier de 1951, avec son époux, Claudi Cuchillo et ses quatre enfants, elle était lourdement enceinte. Je suis née dans cet appartement, au début du printemps. Dans le même endroit, nous étions ensemble quand je suis née, nous étions ensemble quand elle est décédée. Pendant toutes ces années, son appartement a été un décor plein, parfois bondé. La soudaine mort de mon père a laissé muets, pendants quelques mois, les meubles et les murs. Assez vite, d?abord avec le c?ur gros, plus tard en tournant une page, les feux, le piano et les chambres se sont remis en marche. Il y avait toujours quelqu?un, il y avait toujours un lit, il y avait toujours un plat à table. Le «petit asile de maman Cuchillo», comme l?appelait Carlos, ne fermait jamais. Depuis qu?elle est tombée malade, quelques espaces se sont lentement vidés. Mais elle a maintenu le décor à point jusqu?à la fin. Elle a encore donné les ordres de repasser les nappes et de sortir la vaisselle, les verres et les couverts pour le repas de Noël. Cuchillo de Pazos Collioure, août 2008

Né à Barcelona en 1949. Prix National des Arts Visuels de la Catalogne, 2008, Prix National des Arts Plastiques, 2004, Ministère de la Culture espagnol et Prix Villa de Madrid, 2003. Fait des études d?architecture à l?Universidad Politécnica, philosophie à l?Universidad de Barcelona et design à l?Ecole EINA. Il a fait sa première exposition individuelle en janvier 1970, à l?age de vingt ans. En 2007 il a fait l?exposition rétrospective «No me digas nada» au MACBA (Museo Arte Contemporáneo de Barcelona) et au Museo Nacional Centro de Arte Reina Sofía (Madrid), dont il prépare une version pour le Musée d?Art Contemporain de Sao Paulo, en 2009. Il a exprimé son amour pour la musique et la nuit en dirigeant le Salon de bal Cibeles (1978-1982), le cocktail bar Bijou (1983-1986) et le bar musical (Je-rrix, 1994-1995). Dans ce dernier local il a établi le siège de son Club de Fans, le "CP FANS CLUB". En 1987 il est le protagoniste du film « Es quan dormo que hi veig clar » de Jordi Cadena sur des textes du poète Catalan J.V. Foix. En 1998, il dirige et réalise la scénographie de la pièce de théatre "El bell lloc", de Joan Brossa. Cette même année est publié "El Mundo del Ritmo" (Tabelaria), en collaboration avec Eduardo Mendoza et il est le protagoniste du vidéo "Pianito", de Jordi Colomer. L?année 2002 il publie le scénario du film, en attente de producteur "Aquí en la tierra como en el infierno", en décembre 2004 il publie son texte ?Garabatos y Zarpazos?, édité par l?Université de Barcelona (2ème édition 2007) et en 2008 il a publié «Diodrama», avec textes d?Eduardo Lago, dans une édition de l?Atelier Clot, Paris.

La rencontre entre un chimpanzé albinos (habillé en noir) et une vierge romaine noire (en chocolat blanc).

S`il vous plaît, voyez le catalogue de l`exposition "No me digas nada" ("Ne me dis rien", 2007, dont les coordonnées sont indiqués bas. Please, see the catalogue of the exhibition "No me digas nada" ("Tell nothing"), 2007, cited below. Nouvelle biographie: Né à Barcelona le 23 décembre 1949. Prix National des Arts Plastiques, 2004, Ministère de la Culture espagnol et Prix Villa de Madrid, 2003. Fait des études d?architecture à l?Universidad Politécnica, philosophie à l?Universidad de Barcelona et design à l?Ecole EINA de Barcelona. Il a exprimé son amour pour la musique et la nuit avec la direction d?un salon de bal (Salón Cibeles, 1978-1983), d?un cocktail bar (Bijou, 1983-1986) et d?un bar musical (Je-rrix, 1994-1995). Dans ce dernier local il a établi le siège de son Club de Fans, le "C.P.FANS CLUB", fondé en décembre 1994. En 1987 il est le protagoniste du film « Es quan dormo que hi veig clar » de Jordi Cadena sur des textes du poète Catalan J.V. Foix. En 1998, il dirige et réalise la scénographie de la pièce de theatre "El bell lloc", de Joan Brossa, au Espai Joan Brossa de Barcelona. Cette même année est publié "El Mundo del Ritmo" (édité par Tabelaria + Antojos), en collaboration avec Eduardo Mendoza et il est le protagoniste du video "Pianito", de Jordi Colomer. L?année 2002 il publie le scénario du film, en attente de producteur, "Aquí en la tierra como en el infierno" et en décembre 2004 il publie son livre ?Garabatos y Zarpazos?, édité par l?Université de Barcelona, dans la collection ?Les arts i els artistes?, en 2007 il publie « Fidelidad Total », en collaboration Ramón de España, édité par Raina Lupa et en 2008 « Diodrama », avec textes d?Eduardo Lago, edité par Atelier Clot. Il a fait sa première exposition individuelle en janvier 1970, à l?age de vint ans. En 2007 il a fait l?exposition rétrospective «No me digas nada» au MACBA (Museo Arte Contemporáneo de Barcelona) et au MNCARS (Museo Nacional Centro de Arte Reina Sofía), dont il prépare une version pour le Musée d?Art Contemporain de Sao Paulo, en 2009. Pour son exposition rétrospective il a réalisé le film « Mnemocine. Film à découper », un collage audiovisuel constitué par 11 épisodes, d?une durée de 26 minutes.